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Museum of Palazzo Mocenigo
Flanked by the other rooms, this large central hall is typical of the structure of Venetian palazzi and was used for celebrations and official occasions.
The paintings on display here are either nearly all portraits of the Mocenigo family or depict events in which they were involved. Four of the large portraits of the walls (1,2,4,5) are of the sovereigns under whom the Mocenigo family were ambassadors, while two of the seven doges from the family are portrayed above the door (6,8) and the others (18, 28,38,40,41) in the long frieze below the ceiling– inspired by the one in the Sala del Maggior Consiglio in the Doge’s Palace -, together with numerous illustrious members of the family.
The walls were decorated with architectural motifs by Agostino Mengozzi Colonna in 1787. The itinerary to visit the museum begins in the room on our right, looking at the main entrance, with its marble double door.
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Walls
1. French scene? , 17th cent. Portrait of King Louis XIV (?) 29 oil on canvas, 1670 30 9 th Room 7 2. Manner of Peter Lely, 17 cent. 10 Room 5 Portrait of King Charles II Stuart 28 oil on canvas, 1651 31 3. Veneto scene, 17th cent. 27 2 Portrait of procurator Alvise Mocenigo 32 oil on canvas, 1621
th 26 4. Flemish scene? 17 cent. 3 Portrait of Emperor Leopold I of Hapsburg 33 11 Room 6 oil on canvas, 1658 25 5. Manner of Diego Velasques, 17th cent. 34 Portrait of Pope Clement X oil on canvas, 1670 24 35 Above the doors 8 23 6. Veneto scene, 18th cent. 36 Portrait of Doge Alvise III Sebastiano Mocenigo 37 oil on canvas, 1722 22 th 4 7. Veneto scene, 18 cent. 1 Portrait of the wife of Doge Alvise I, Loredana Marcello 38 21 oil on canvas 8. Veneto scene, 18th cent. Sala 18 20 Portrait of Doge Alvise IV Mocenigo 7 oil on canvas, 1763
th 9. Veneto scene, 18 cent. 19 Portrait of procurator Leonardo Mocenigo oil on canvas
th 18 10. Veneto scene, 18 cent. 5 Portrait of Giovanni Mocenigo oil on canvas 39 17 11. Veneto scene, 18th cent. Portrait of Giovanni Tommaso Mocenigo 40 oil on canvas 16 Room 1 Room 17 6 12 12. Veneto scene, 18th cent. Portrait of Captain Leonardo Mocenigo 41 15 oil on canvas
Frieze below the ceiling
13/41. Veneto scene, 18th cent. Twenty-nine portraits of procurators, doges, archbishops, captains and illustrious members of the Mocenigo family oil on canvas, 1787
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Museum of Palazzo Mocenigo
The paintings in this room all belong to the palazzo and are of famous members of the branch of the family that lived here. The two that are set in Rome are reference to Piero Mocenigo (1632 – 1678) who was first ambassador in London and then in Rome; the pastels portray Doge Alvise IV, his headstrong wife and a brother.
1. Antonio Joli (Modena, 1700 – Naples, 1777) 1 2 5 Pietro Mocenigo’s Procession to the Quirinale oil on canvas, 1761
2. Antonio Joli (Modena, 1700 – Naples, 1777) Room 2 Ambassador Pietro Mocenigo’s Entrance before the Pope in Piazza del Popolo oil on canvas, 1761 3 4 3. Francesco Pavona (Udine, 1695 – Venice, 1777 ) Portrait of the Doge’s Wife, Pisano Corner pastel on paper, 1763 ca.
4. Francesco Pavona (Udine, 1695 – Venice, 1777 ) Gentleman (a brother of Alvise IV?) pastel on paper, 1763ca.
5. Francesco Pavona (Udine, 1695 – Venice, 1777 ) Portrait of Doge Alvise IV Mocenigo pastel on paper, 1763ca.
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Museum of Palazzo Mocenigo
In this room the eighteenth-century carved, lacquered furniture belonging to the palazzo is on display with contemporary blown glass from Murano and the paintings on the walls are from the Correr Museum collections. The valuable silk fabrics ( sixteenth and seventeenth centuries) belong to the Study Centre of the History of Fabrics and Costumes here - as do all the fabrics on display in the museum-, while all the Chinese porcelains come from the Treasury of the Scuola Grande di San Rocco. The ceiling fresco goes back to the period of the extensive decorations carried out in the palazzo on the occasion of Doge Alvise IV’s grandson’s wedding to Laura Corner, as do all the frescoes in the other rooms. Here we can see the allegorical figures of Fame, Glory, and Hymen, god of marriages.
Room 3
1. Johann Carl Loth 4 3 (Munich, 1632 - Venice, 1698) Paris oil on canvas, 1730 ca. 2 2. Painter from the Veneto, 17th cent. Allegory of the Holy League against the Turks 5 6 oil on canvas, 1684 ca.
3. School of Johann Liss, 17th cent. Judith and Holofernes oil on canvas 1 4. Painter from the Veneto, 18th cent. Minerva 7 oil on canvas, 1769 ca.
5. Gregorio Lazzarini (Venice, 1655 - Villabona, Polesine, 1730) Rebecca at the well On the ceiling: oil on canvas, 1690 ca. Giovanni Scajaro (around second half of 18th cent.) Allegory 6. Genoese School, 18th cent. Bacchus and Ariadne fresco, 1787 ca. oil on canvas trompe l’oeil by Agostino Mengozzi Colonna (1725/1792)
7. Southern Italian scene, 17th cent. “Scena buffa” oil on canvas
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Museum of Palazzo Mocenigo
On the table, decorated with a handmade lace tablecloth from Burano, and on the consoles is eighteenth-century Murano glass blown and worked by hand, while the Venetian made bottles and glasses are in ‘Bohemian’ style, i.e. blown, cut and decorated in gold. The furniture belongs to the palazzo and is all from the eighteenth century, except the screen which is dated later; the paintings on the walls come from the Correr Museum and Ca’ Rezzonico collections. The allegorical fresco on the ceiling alludes to military value, guarantor of peace, prosperity and good government.
1. Maria Molin (Venice 1740 ca. - 1772ca.) Room 4 Portrait of Bartolomeo Cornet pastel, 1790 8 9 10 2. Workshop of Pietro Longhi, 18thcent. The ridotto 7 oil on canvas, 1740ca. 6 3. Maria Molin (Venice 1740 ca. - 1772ca.) Half bust of Venetian gentleman 5 pastel on paper, 18thcent.
4. Painter from the Veneto, 18thcent 4 Putti with aries pastel on paper 3 2 1
5. Maria Molin (Venice 1740 ca. - 1772ca.) Female portrait pastel, 18thcent.
6. Maria Molin (Venice 1740 ca. - 1772ca.) 9. Workshop of Pietro Longhi, 18thcent. Half bust of Venetian gentleman Afternoon tea in the countryside pastel on paper, 18thcent. oil on canvas, 1740 ca.
7. Copy after Jean-Etienne Liotard 10. Maria Molin (Venice 1740 ca. - 1772ca.) (Geneva, 1702 - 1789) Portrait of a lady Portrait of Francesco Algarotti pastel on paper, 1760. oil on canvas, 1745ca. On the ceiling: 8. Maria Molin (Venice 1740 ca. - 1772ca.) Gian Battista Canal (Venice 1745 - 1825) Portrait Allegory of the family or Allegory of Mars pastel on paper, 18thcent. Fresco, 1787 Trompe l’oeil by Giovan Antonio Zanetti
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Museum of Palazzo Mocenigo
The carved, lacquered, and gilded nineteenth-century furniture belongs to the palazzo; the glass pieces decorating it - from the Murano Museum - go back to the eighteenth century with the exception of the multicoloured filigree candleholder on the table, which is dated later. Of the paintings, the Virgin by the Bellini school belongs to the palazzo’s collections, as do the chandelier and multi-coloured wall lights in the shape of bouquets of flowers (‘a cioca’) from the eighteenth century. The Mocenigo coat-of-arms stands out on the Venetian stucco floor, while once again the ceiling fresco alludes to marriage, with Hymen coming down from heaven, the bride with the pierced heart, Cupid, Poetry and the fertility of Spring.
1. Francesco Noletti, called il Maltese (Valletta, 1611c. – Rome,1654), 17thcent. Still life with armour oil on canvas Room 5 8 7 2. Felice Boselli (Piacenza, 1650 - Parma 1732) 9 Still life with animals oil on canvas, 1658c. 6 3. Felice Boselli (Piacenza, 1650 - Parma 1732) Still life with animals oil on canvas, 1658c. 3 5 4 4. Domenico Maggiotto (Venice, 1713-1794) The three ages oil on canvas, 1762ca.
5. School of Giovanni Bellini, 16th cent. 2 1 Virgin with Child between Saint Peter the Apostle and Saint John the Baptist oil on canvas
6. Domenico Pasquali (att.1715 – 1766) 9. Francesco Noletti, called il Maltese Portrait of Giambattista Venier (Valletta, 1611c. – Rome,1654), 17thcent. oil on canvas, 1761ca. Still Life oil on canvas 7. Marco Marcola (Verona,1740 – 1793) Three masks and a farmer oil on canvas, 1755ca. On the ceiling: Jacopo Guarana (Verona ,1720 – Venice, 1808) 8. Maria Venier (not.1781) Nuptial allegory Portrait of Vicenzo Renier fresco, 1787 oil on canvas, 1781ca. trompe l’oeil by Agostino Mengozzi Colonna (1725/1792)
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Museum of Palazzo Mocenigo
The paintings in this room depict war scenes or family events related to the Mocenigo family. The naval battle (5) is, for instance, a fight near the Island of Sapienza in Greece between pirates and Venetians led by Zaccaria Mocenigo (1634 – 1665), who preferred to set fire to his ship and die rather than fall into enemy hands; the Contarini figure portrayed in the large painting (4) in the carved, gilded frame is Doge Alvise IV’s son’s father-in-law. The ceiling fresco is surrounded by extensive perspective tromp l’oeil and depicts pairs of allegorical figures that are the apotheosis of the family: the winged Knowledge inspiring its behaviour, followed by political and religious Power, Justice with the scales, Peace with an olive branch, Fortitude and warrior Virtue. Of particular value the chandelier– originally part of this room’s furnishings – in blown glass and hand worked into bouquets of flowers (‘a cioca’), attributed to the most important Venetian glassmaker in the eighteenth century, Giuseppe Briati (Murano 1686 – Venice 1772).
1. Veneto scene, 17th cent. Marina with ships 5 oil on canvas 2. Veneto scene, 17th cent. 6 Naval battle 1 oil on canvas 3. Painter from the Veneto, 17th cent. View of Saint Mark’s Square from the quay 7 oil on canvas 3 2 4. Veneto scene, 18th cent. 4 Portrait of the Procurator Giulio Contarini 8 oil on canvas, 1729
Antonio Corradini (Este 1668, Naples 1752), attrib. Room 6 Carved, gilded wooden frame with Contarini coat-of- arms
5. Veneto scene, 17th cent. Naval battle 8. Veneto scene, 17th cent. oil on canvas, 1665 Portrait of Doge Alvise Contarini oil on canvas, 1675ca. 6. Veneto scene, 17th cent. Marina with ships oil on canvas On the ceiling: Jacopo Guarana (Verona ,1720 – Venice, 1808) 7. Painter from the Veneto, 18th cent. Apotheosis of the Mocenigo family Family tree of the Corner family fresco, 1787 oil on canvas, 1709 trompe l’oeil by Agostino Mengozzi Colonna (1725/1792)
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Museum of Palazzo Mocenigo
In this small room, with its multicoloured stuccoes, is on display and a series of paintings from the Correr Museum.
1. Jan Grevenbroeck (Venice 1731 – 1807) 1 Landscape with naval battle Room 7 tempera on brown paper, 1750ca. 2 3 2. Anna Pasetti (att. 1750-1800) Giving alms to a beggar pastel on paper, 1750ca. Portego
3. Jan Grevenbroeck (Venice 1731 – 1807) Marina 6 oil on canvas, 1750ca. 5 4 4. Jan Grevenbroeck (Venice 1731 – 1807) Landscape with marina tempera on brown paper, 1750ca.
5. Anna Pasetti (att. 1750-1800) Giving alms to a beggar pastel on board, 1750ca.
6. Jan Grevenbroeck (Venice 1731 – 1807) Marina oil on canvas, 1750ca.
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Museum of Palazzo Mocenigo
Once again many of the paintings in this room depict stories of the Mocenigo family. Particularly striking is the large table that has been laid and is covered with valuable ancient thirteenth/fourteenth-century fabrics. Of different kinds, these items have silver and gold thread, as can be seen in the extremely rare piece of allucciolato brocade (the seventh on the table when coming from room 6) reflecting the light and producing a sparkling effect. From the same period are the glass objects (chalices, fruit stands, plates), all of which are slightly fumè, mould blown and worked freely by hand. They are from Murano, as are some of the other pieces on display here that go back to the 18th century: the candleholders and mirror with frame (soaza) decorated with glass plates, enamel amorinos and racemes.
1. Antonio Stom (1688 – Venice, 1734), attrib. Ambassador Alvise II Mocenigo enters 5 4 3 Constantinople oil on canvas, 1709ca.
2. Antonio Stom (1688 – Venice, 1734), attrib. Prince of Sweden arrives in Chioggia and is received Room 8 by Doge Mocenigo. oil on canvas, 1710ca.
3. In the manner of Alessandro Longhi, 18th cent. Portrait of Gentleman from the Angeli Family oil on canvas, 1759ca. 2 1 4. Veneto scene, 17th cent. Apparition of the Redeemer with Saint Francis of Assisi and Saint Roch before Doge Pietro Mocenigo oil on canvas
5. Francesco Pavona (Udine, 1695 – Venice, 1777), attrib. Portrait of Alba Foresti oil on canvas, 1725ca.
Above the door: Gian Battista Canal (Venice 1745 - 1825) Allegories of the four seasons Fresco, 1787ca.
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Museum of Palazzo Mocenigo
All the portraits on display here are of Venetian patricians, some of which belong to the palazzo – as does the furniture. Others come from the Correr collections, such as the two original paintings on fabric dedicated to Doges of another important Venetian family, the Morosini, that not only produced four doges, but also bishops, ambassadors and soldiers. The Morosini women were also of considerable interest: Tomasina (1250-1300), Queen of Hungary, Costanza’s aunt, Queen of Serbia and sister of Albertino who therefore became viceroy of Illyria. In the Mocenigo family, before becoming doge in 1414, Tommaso carried out delicate diplomatic peace missions including the one depicted here, with Sigismund, King of Hungary. The seventeenth-century glass on the consoles is from Murano.
1. In the manner of Chiara Varotari, 17th cent. Portrait of Tommasina Morosini 11 oil on canvas, 1625 12 2. In the manner of Jacopo Tintoretto, 16th cent. Portrait of Doge Girolamo Priuli oil on canvas Room 9 13 1 3. Veneto scene, 17th cent. Portrait of Tommaso Mocenigo with the Emperor of Constantinople and the King of Hungary oil on canvas
4. and 7. Anonymous, 18th cent. Portrait of Doge Morosini 9 10 3 2 oil on canvas with applications of multicoloured fabric fragments (brocade damask)
5. Painter from the Veneto, 17th cent. Portrait of Marco Morosini 8 5 oil on canvas 7 6 4 6. Veneto scene, 17th cent. Portrait of Doge Marino Morosini oil on canvas, 1640
8. Veneto scene, 17th cent. 11. Painter from the Veneto, 18th cent. Portrait of Nicolò Morosini Portrait of Albertino Morosini oil on canvas oil on canvas
9. Veneto scene, 17th cent. 12. Veneto scene, 17th cent. Female portrait Male portrait oil on canvas oil on canvas, 1650
10. Veneto scene, 17th cent. 13. Painter from the Veneto, 18th cent. Portrait of Pietro Mocenigo, Capitano da Mar Portrait of Costanza Morosini oil on canvas oil on canvas
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Museum of Palazzo Mocenigo
The paintings in this room, of which only some belong to the palazzo, evoke marine settings whilst continuing the series of famous portraits. On the left of a nineteenth-century portrait of one of the Mocenigo doges, there is a meditative portrait of Gregorio XII, pope at the beginning of the fifteenth century, coming from the noble Venetian Correr family and one of the few to abdicate as pope. On the right is a portrait of the noble scholar Marcantonio Michiel. On the table are sixteenth-century ciselè soprarizzo velvets (on loan from Fondazione di Venezia) and contemporary glass pieces, mould blown or worked freely by hand. The eighteenth century pieces of furniture belong to the palazzo.
1. Veneto scene, 17th cent. Marina 2 oil on canvas
2. Veneto scene, 18th cent. Fight over “Ponte dei pugni” (punches bridge) Room 10 copper rilief 8 1 3. Veneto scene, 17th cent. Portrait of Gregorio XII oil on canvas 7 3
4. Painter from the Veneto, 19th cent. Portrait of a Mocenigo Doge oil on canvas 4
5. Francesco Gallimberti (att. 1755 – 1803), attrib. Portrait of Marcantonio Michiel 5 oil on canvas, 1795 6
6. Bartolomeo Nazzari (Clusone, 1693 – Milan, 1758) Portrait of a Magistrate oil on canvas, 1730
7. School of Bartolomeo Nazzari, 18th cent. Portrait of Bertuccio Valier oil on canvas, 1758
8. Veneto scene, 17th cent. Marina with rampart oil on canvas
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Museum of Palazzo Mocenigo
The paintings by Antonio Stom on display here belong to the series of the “Splendours of the Mocenigo Family”. They refer to the visit of Princess Violante Beatrice of Bavaria (1673/1731), wife of Ferdinando de’ Medici, heir to the Tuscan throne, in the territory of the Republic of Venice, being received by a member of the Mocenigo family. The charcoal on the bureau depicts Costanza, wife of the last Mocenigo, who lived in the palazzo, bequeathing it to the city last century. The twentieth century photographs depict members of the Aosta branch of the Savoia family. On the table at the back of the room are eight valuable ancient fabrics, of composite production (ciselé and embossed – for example the third from the right), and glass from different periods: the filigree plate and the three fumé buckets go back to the sixteenth century, the fruit stands and candleholders to the eighteenth, the chalcedony chalice to the nineteenth and the goblet to the twentieth century. The furniture is from the eighteenth/nineteenth centuries and only some pieces belong to the palazzo.
3 1. Antonio Stom (1688 – Venice, 1734), attrib. 5 2 Arrival of Princess Violante De’ Medici in a square 4 in Verona oil on canvas, 1717c. 6 2. Antonio Stom (1688 – Venice, 1734), attrib. Ball in honour of Violante De’ Medici oil on canvas, 1717
3. Painter from the Veneto, 18th cent. 7 Diplomatic Conference (Vienna 1716) 1 oil on canvas, 1716c. 8 4. Northern Italian scene? 17th cent. Female portrait oil on canvas, 1675
th 5. Veneto scene, 20 cent. Room 11 Portrait of Costanza Faà di Bruno charcoal
6. Antonio Stom (1688 – Venice, 1734) Violante De’ Medici’s Entrance to Verona oil on canvas, 1717
7. School of Bartolomeo Nazzari, 18th cent. 8. Veneto scene, 17th cent. Portrait of a Gentleman Female portrait oil on canvas, 1750 oil on canvas, 1650
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Museum of Palazzo Mocenigo
The room is dedicated to this classical male garment with more then fifty samples on display, from the Cini deposits in the collections of the Study Centre annexed to the museum. Knee long, completely buttoned up in the front and made of a valuable fabric, the waistcoat became common at the end of the seventeenth century. It was worn under the jacket; the front was usually made of silk and the back of linen or cotton. In that period it still had sleeves and was mainly meant as protection against the cold. It later changed form: in the eighteenth century – the period the models on display here were made – it was shortened and reached just below the waist, ending with two ‘tails’. At the end of the century it no longer had sleeves, but sometimes had a collar instead. Its decorative function was emphasised thanks to the embroiderers’ skill, as they were able to make each garment into a masterpiece, with perfect, realistic weaving.
1. Fiftysix male tailcoat waistcoats silk and cotton embroidered with multicoloured 1 th thread, Italian craftsmanship, 18 cent 3 1 2. Tailcoat 2 linen, silk, metal thread and paillettes, 1700s 4 Tailcoat waistcoat silk, metal thread and linen 1750-1799 1 Trousers silk and linen, 1775-1799 Room 12 3. Tailcoat and Tailcoat waistcoat silk, 1775-1799 Trousers silk and cotton, 1775-1799
4. Tailcoat silk, 1775- 1799 Trousers silk and cotton, 1775-1799
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Museum of Palazzo Mocenigo
The Mocenigo legacy also included a complex of noble archives of outstanding importance. Carefully preserved on one of the palazzo mezzanines, it includes the collections from different important families, covering a period from the eleventh to the twentieth century and which arrived in the Mocenigo collection as a result of marriages or bequests, although most of it has clearly separate inventories and ancient indices. This is a collection of outstanding historical and documentary importance that has not yet been studied in depth. Offering a selection of 205 archive bundles, rearranged at the beginning of the twentieth century by their last owner, the room wants to evoke this importance.
1. Alessandro Longhi (Venice, 1733 – Venice, 1813) Portrait of Domenico Pizzamano oil on canvas, 1780
2. In the manner of Alessandro Longhi 2 3 1 Portrait of Gentleman from the Angeli Family 4 oil on canvas, 1753
3. Italian scene, 18th cent. Portrait of Marquis Scipione Repeta called Marchetto oil on canvas, 1726 5 Room 13 4. Black procurator’s gown wool, Venetian craftsmanship, 1750-1800
5. Veneto scene, 18th cent. Male portrait oil on canvas
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Museum of Palazzo Mocenigo Perfume Section
Decorated with paintings from the Correr Museum and Ca’ Rezzonico collections, this room is the beginning of the museum section that is devoted to a particular aspect of the history of Venetian costumes, that of perfume, not yet studied in depth until now, and highlighting the fundamental role the city played in the origins of this aesthetical, cosmetic and commercial tradition. This is also the beginning of a sort of ‘change of pace’ in the exhibition: while still perfectly integrated with the evocative settings we have seen so far, there are now multimedia instruments in each room. Here a video – in three different languages one after the other – offers a light introduction to the Venetian history of perfume up to the Middle Ages, the secrets of ancient production, the whims of the wealthy clients, the trend changes over the centuries.
Room 12
1. and 2.Pier Ilario Spolverini 1 2 (Parma, 1657 – Piacenza, 1734), 18th cent. Battle scene oil on canvas
3. Lorenzo Tiepolo (Venice, 1736 – Madrid, 1776) Self-portrait pastel on paper, 1761 ca. Room 14 5 4 3 4. Veneto scene, 18th cent. Female bust oil on canvas, 1725
5. Painter from the Veneto, 18th cent. Portrait of Angelo Correr oil on canvas
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Museum of Palazzo Mocenigo Perfume Section 14 15 16 17
Although not a perfect reconstruction, this room evokes what was an almost alchemical laboratory of the perfume maker or muschiere, who, from the sixteenth century on in Venice was the keeper of the techniques and recipes to make soap, oils, pastes, powders and liquids to perfume things, people, clothes, gloves and rooms. Expensive and much sought-after, perfume required raw materials that were often very rare and exotic, coming either from the plant kingdom, such as the benjamin tree, cinnamon, or from the animal kingdom, such as the zibet and grey amber. This room has an interactive wall panel with a scented map that demonstrates the fascinating, impenetrable routes that Venetians had to cover to obtain these raw materials. Original nineteenth-/twentieth century instruments or reconstructions – such as the loom to extract essential oils from flowers (enfleurage) or the chest full of white cold paste Venetian soap, filtered using an ancient process – give the visitor a glimpse of the partially magical and partially industrial atmosphere of this great tradition. Of particular note is Pietro Andrea Mattioli’s sixteenth-century herbarium that illustrates, amongst other things, the technique of distillation
1. Italian craftsmanship, 19th cent. Different instruments used for processing 3 spices;raw materials for perfume production; 5 soaps of Aleppo and Venice 2 4 2. German craftsmanship Industrial mortar bronze, 1921 6 7 Munich, Bavaria, Storp collection Room 15 3. and 9. Muranese craftsmanship, 19th cent. 1 Bottles, stills and other instruments for processing liquids or powders and for the storage of raw materials blown glass
4. Italian craftsmanship, 19th cent. 8 Emulsive mixer and essential oil infusion 10 container 9 bronze Schio, Farmacia Breda collection 5. Veneto scene, 18th cent. 8. Various European craftsmanship, 19th / 20th cent. Fire at San Marcuola Vases in white glass, ceramic majolica jars, small oil on canvas, 1789 vases in blown Murano glass and plant materials forperfumes in transparent jar 6. Italian craftsmanship, 19th cent. Alchemical pelican 10. French craftsmanship, beginning 20th cent. bronze Distiller 7. Angelo Maria Crepet (Mestre 1885- 1973) Copper and iron Still Life Milan, Craesens collection tempera on board, 1969
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Museum of Palazzo Mocenigo Perfume Section 14 15 16 17
This room is also dedicated to raw materials and production techniques. The books on display - one of which (4) can be used virtually in the interactive totem next to the bookcase - were printed for the first time in Venice in the middle of the sixteenth century, revealing the “secrets” of an art of perfume – that also comprises cosmetics, medicine, science and magic. Some of the ‘real’ raw materials are on display here, such as musk from animal glands or valuable grey amber - the intestinal secretion of the sperm whale - and, on the table, many of those mentioned in the ancient recipes exhibited here.
1. School of Pietro Longhi, 18th cent. Declaration of love 3 oil on canvas, 1750 2 6 7 4 5 2. Circle of Pietro Longhi, 18th cent. Room 16 Scene of an interior with game of cards (the game) oil on canvas, 1750 8
3. Painter from the Veneto, 18th cent. 1 10 11 Pulcinella 9 oil on canvas 4. Giovanventura Rosetti Secreti nobilissimi dell’arte profumatoria, Bologna, Giovanni Recaldini, 1672 (1st edition Venice, 1555). 8. Raw materials for perfume production displayed Venice, Vidal collection on Erpegnes, vases, plates, bowls, blown glass and worked freely by hand, Venice 18th cent 5. Girolamo Ruscelli Vases, mould blown glass, from the Altino area, Secreti del reverendo d. Alessio Piemontese, first century AD. Venice, Francesco Locatelli, 1783 (1st edition Venice 1555). 9. Fifty phials Venice, Vidal collection Venice, 18th cent. blown glass worked freely by hand 6. German craftsmanship, 16th cent. Ox horn, emptied and sealed, used to keep musk 10. Circle of Pietro Longhi, 18th cent. Munich, Bavaria, Storp collection The profession of looking after teeth oil on canvas, 1750 7. Musk and Grey amber Munich, Bavaria, Storp collection 11. School of Pietro Longhi, 18th cent. Masked scene, visiting with a ‘bauta’ oil on canvas, 1750
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Museum of Palazzo Mocenigo Perfume Section 14 15 16 17
The bottles on display belong to the Monica Magnani Collection, which is made up of perfume containers from different periods. Of different origins, they are made of diverse materials and are all small in size. Although niche objects of a minor decorative art, their stylistic characteristics and language are those of the historical period of their production.
1. Veneto scene, 18th cent. View of the Grand Canal 1 2 oil on canvas
2. Veneto scene, 17th cent. Room 17 View of the Grand Canal at San Samuele oil on canvas, 1767 Room 17 ENG
Museum of Palazzo Mocenigo Perfume Section 14 15 16 17
The ‘Fragrance families’ are a sort of classification of perfumes on the basis of the elements they are made up of. On the large table there are 24 containers with the same number of essences, forming six of the main families, all of which have fascinating names: citrus, floral, oriental ... Visitors may experiment with the fragrances or study this intoxicating but rigorously scientific world in more depth, using the iPad on the table.
Room 18
1. Veneto scene, 18th cent. Comedians in the piazza 1 oil on canvas
2. Glass containers with 24 essences from 6 different 2 2 Portego Fragrance families. 2 3 2
3. Small triumph 2 2 Venice, 18th cent. blown glass worked freely by hand
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Museum of Palazzo Mocenigo Perfume Section
The paintings in room 18 are both intimate and private; of particular note is the rare Perfume Maker’s Organ, an extraordinary instrument used to invent perfumes using the more than two hundred essential oils in the phials arranged in the shape of an amphitheatre. In the small room 19 we can see two paintings with religious motifs that belong to the palazzo, as to the eighteenth-century furnishings, while the female portrait comes from the Correr Museum collections.
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1. Bernardino Castelli (Arsiè, 1750 – Venice, 1810) 6 Room 18 Portego Female portrait 3 oil on canvas, 1775ca. 8 9 10 Room 19 11 7 1 2 2. Giobatta De Rubeis (1750 -1810) Portrait of Virginia Giustinian Tassis oil on canvas, 1790ca.
3. Painter from the Veneto, 19th cent. Dog oil on canvas
4. Bernardino Castelli (Arsiè, 1750 – Venice, 1810) Female portrait oil on canvas, 1775ca.
5. Jacopo Amigoni (Venice 1682 – Madrid, 1752) Female bust oil on canvas, 1750ca. 9. Northern Italian scene, 19th cent. 6. Venice, 19th cent. Virgin of the Rosary Perfume maker’s organ oil on canvas Inlaid walnut wood Venice, Vidal collection 10. Copy afterJacques Callot (Nancy, 1592-1635) 7. Northern Italian scene, 18th cent. Rural scene with Gypsies San Francesco di Sales oil on canvas, 1650c. oil on canvas 11. Copy afterJacques Callot 8. Painter from the Veneto, 19th cent. (Nancy, 1592-1635) Portrait of a lady Rural scene with Gypsies oil on canvas oil on canvas, 1650c.
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